Josquin Des Prez

Josquin Des Prez (diminutive of "Joseph"; latinized Josquinus Pratensis) (c. 1450 - August 27, 1521). He was the most gifted and learned contrapuntist and composer between Guillaume de Machaut and Palestrina and is the best representative of what came to be known as the Netherlands style.

Little is known of his early life, but he was probably born either in Hainaut, Belgium, or immediately across the border in France, since several times in his life he was classified legally as a Frenchman (for instance, when he made his will). According to 17th century records, he became a choir boy in the collegiate church of Saint-Quentin at an early age, and may have studied counterpoint under Ockeghem, whom he greatly admired throughout his life (on Ockeghem's death in 1497 he wrote the impressive motet La Déploration sur la mort Ockeghem). By 1474 Josquin was at the court of the Sforza family in Milan, but he left this position after the murder of the Duke, going to work for his brother instead. From 1486 to 1494 (except the year 1487-1488, which he may have spent in Florence), Josquin was a member of the papal choir under Pope Innocent VIII. In 1499 he is known to have been at the court of Hercules I, Duke of Ferrara, where he wrote the exquisite Missa Hercules Dux Ferrariae, which is written on a cantus firmus derived from the musical letters in the Duke's name.

Josquin left Ferrara in 1503, possibly fleeing an outbreak of the plague (the Duke, his family, and two thirds of the citizens fled as well). His position at Ferrara was filled by Jacob Obrecht in 1505, who died of the plague that year, and by Antoine Brumel in 1506, who stayed until the disbanding of the chapel in 1510. Josquin entered the service of King Louis XII of France some time after 1503, staying there until 1515. Josquin retired to the region of his birth, and died at Condé in 1521.

Josquin dominated the musical world of his time, not only on account of his learning and skill but particularly because of his originality. His vivid conception of the meaning and dramatic possibilities of the sacred texts, as well as his great inventiveness and supreme melodic skill, enabled Josquin to free himself more than any other composer before Palestrina from the conventions of his time. He acquired immense popularity and fame, and was much in demand. Duke Hercules sent an (undated) letter to his secretary with the interesting comment "It may be true that Josquin is a better composer, ...but Isaac is better able to get along with his colleagues."

Josquin's fame was overshadowed by Palestrina and his school, and the subsequent change in taste caused his works to be neglected until near the end of the 19th century. The present age, however, is doing justice to those early masters in music; Josquin is often recorded and sung today. Josquin wrote thirty-two masses, seventeen of which were printed by Petrucci (1466-1539) in Fossombrone and Venice. Others were preserved in manuscript in the archives of the papal choir in Rome and in the libraries of Munich, Vienna, Basle, Berlin, the Ratisbon cathedral, and Cambrai. Motets by Josquin were published by Petrucci, Pierre Attaignant (1533), Tylman Susato (1544), and by Le Roy and Ballard (1555). Numerous fragments and shorter works are reproduced in the historical works of Forkel, Burney, Hawkins, Busby, and in Choron's collection.

In addition to the sacred works, Josquin wrote numerous chansons, some of which became very popular, and were circulated throughout Europe; many of them are sung regularly by a cappella vocal groups today.

Incorporates some text from the Catholic Encyclopedia (1908)